"Sabre" brings the gentle hovering of a light sabre and tangled, electrified communications panning around your head. The start to the track is dark. Really dark. After a couple of minutes the sub-driven kick is introduced and the tangled sound slowly starts to form patterns. Shortly after his subtle hats enter the frame, Ruskin gives us a minute of a respite—further tangling the sound—and when the kick is reintroduced, it's defined and the groove has an even deeper swing. The way Ruskin uses the metallic, tangled sounds to create and push the arrangement gives "Sabre" edge and menace, while balancing the track perfectly.
On the B, "Massk" gets straight down to business with the heavy sub kick creating a steady wall of sound as the atmospheric elements are gradually painted in. The landscape is the same distant and unfamiliar territories, but the emphasis here is firmly in the groove. "Massk" comes alive late when Ruskin strips the channels and launches into pure techno mode. It's hard to imagine you'll be hearing this at any old club any time soon. You'll most likely have to wait for those rare occasions when a techno master such as Ruskin, Hood or Simms comes to a club near you. In the wrong hands—or on the wrong sound system—this kind of music is wasted.
Fri / 17 Jul 2009